







»-?a:i >J>r 




Class 
Book 






Copyright}!^. 



COPYRIGHT DEPOSIT. 



STORY LAND 



OUTLINES FOR 



THE CHILD LIFE COM- 
POSITION PICTURES 



By 
EFFIE SEACHREST 

Author of Legendary Lore and 
Peeps at Pictures 




NEW YORK 

THE A. S. BARNES COMPANY 

1912 



lB\B*2g 



Copyright, 1912, bv 
THE A. S. BARNES COMPANY 



THE QUINN 4 BODEN CO. PRESS 
RAHWAY, N. J. 









CONTENTS 



PAGE 



Introduction •••■...,,. 3 

OuTr.ixics ]-0R Grades I, II, III . . „ . . 10 

OUTMXES FOR GraDE IV , . . . . „ .24 

OlTTLTXES FOR GraDE V ....... 32 

Outlines for Grade YI ....... 44 

Outlines for Grade VII ....... 54 

Outlines for Grade VIII ....... 64 

Orkjixal Compositions .....,,. 74 

Biographical Sketches of Artists ..... 79 



STORY LAND 



STORY- LAND. 

The Child Life Composition Pictures. 

Inteoductiox. 

A CHILD reads a picture with more deliglit than a printed 
page. In his first reading, he is assisted as we know by the 
picture book. Pictures, then, should be constantly used in 
the earliest grades of school. They will not only give the 
child new ideas, but will also enable him to express these 
ideas. For this purpose the Child Life Composition Pic- 
tures are grouped, according to grades, as follows: 

Grades: I— II— III. Nos. 24, 11, 2, 28, 23, 8, 30. 

IV. Nos. 19, 9, 13, 16. 

V. Nos. 12, 7, 15, 1, 10, 3. 

VI. Nos. 21, 22, 31, 4, 6. 

VII. Nos. 27, 32, 5, 20, 26. 

VIII. Nos. 14, 17, 29, 18, 25. 

Oral Composition or Language Lessons: 

During the first and second years of the child's school- 
life, the aim of the teacher is to get the child to express him- 
self in his own words — oral composition. In order to gain 
this end, the following method should be followed: 

Place a picture on the desks in front of each child — 
picture-side downward. When the command is given each 
child picks up his picture and looks at it — one, two, or three 
minutes. Then the teacher savs to the first child, ' ' Tell me 

3 



4 STORY-LAND 

a story ' ' — not, ' ' Wliat do you see in the picture I ' ' Each, 
child, in turn, stands and tells his or her story. 

In a New York public school, picture No. 2, ''A 
Helping Hand," was passed. The following statements 
were made by children of the second year ; 

First child: " A little girl and her papa went out sailing 

one day." 

Second child: '' Her father was a tisherman." 

Third child: " Her name is Mary and she helped her fa- 
ther row the boat." 

Fourth child: "Her father was a nice man and loved 

Mary." 

Fifth child: " Her father told Mary she was his ' Help- 
ing Hand.' " 

Each one of these statements is a composition. The 
story can be extended until each pupil in the class has made 
a statement. 

By this method, the child gains ability to express him- 
self on Jiis feet. This is important. Many a boy or girl can 
think or speak while seated and yet will fail when required 
to stand. 

The third-year children may write a story suggested by 
one of these pictures. 

Very few suggestions should be made by the teacher in 
the third year. After the third year, no suggestions are to 
be made. 

The children are delighted to interpret the story indi- 
cated in the picture by the artist. The only direction neces- 
sary is, " Weite me a story." In the first two years it is, 
Tell me a story. ' ' 



< I 



STORY-LAND 5 

In using these pictures in the early grades, teachers are 
cautioned against saying anything about the artist — who he 
was, when he lived, what he painted, the scene represented, 
the country, the time of the year, or what not. All these 
belong in " Picture Study." What the teacher wants is a 
composition, or story. 

It will not be a composition if the child hears one word 
about the i)icture. You are not after " Reproduction 
Stories." Twenty-five words by the child are worth 
})ages of what the child remembers of what the teacher 
said. 

Again, we want as many stories as there are children in 
class. 

First, — Pass })ictures; second, — All look at the pictures 
one minute or less; third, — " Write me a story," 

By using this method there is no chance to compare or 
reproduce. All nnist compose. The story may be crude, 
short, or words misspelled. No matter, you are not after 
spelling, punctuation, capitals, and periods. Directly they 
will come in their })roper places. 

By this time, the children have already learned that sen- 
tences should begin with capitals and end with periods. 
They have also learned to write. 

In following these directions let us see what is ac- 
complished : — 

First : You secure original compositions. 

Second : You recplire the child to spell words while writing. 

Third: You cause the child to acquire speed in writing, 

because he thinks much faster than he writes. 
Fourth: You inspire confidence in his ability to both spell, 

write, and punctuate. 



6 STORY-LAND 

Fifth: You have had a review lesson in grammar, spell- 
ing, and writing. 

The mission of the picture is to suggest a composition. 

The^ writer has many stories of one and one-half pages 
of ordinary composition paper that hardly refer to the 
picture. The engineer touches a lever, electricity or steam 
is released and the wheels begin to revolve. So in this 
case, the picture is placed before the child, and the thought 
is produced in the child's brain instantly. If the child is 
given a chance, the story will be written rapidly, once he 
is started. 

One fact the teacher must ever keep in mind, viz.: an 
original story suggested by the picture is wanted; and not 
what the child sees in the picture : 
To illustrate: — 

Louise Godkin, a fifth-year pupil in New Rochelle, N. Y., 
was handed, with all the others of her class, picture No. 1 
of Child Life Composition Pictures. Here is her story 
just as she wrote it. Notice that the picture is called — 

'' A Bird Day Council." 
' ' Louise Godkin. Grade 5-B. 

Planning for a Trip. 

Miss Woodpecker kept a school in a tall pine tree on 
the other side of the hill. One day when all the birds were 
at school Miss AVoodpecker said, " AVho would like to go 
with me to the Museum of Natural History." All the little 
birds agreed to this. 

Miss Woodpecker said, " Get up early to-morrow and 



STOEY-LAND 7 

come to school before the usual time so we can talk about 
our plans." 

The next day all the little birds went to school early as 
their teacher told them to do. Miss Woodpecker then said, 
" AVould it be alright if we went Thursday." There was 
a pause and then little Yellowlegs said, " Well, my dancing 
class is that day." " Would Friday be alright? " Yes, 
every body could go Friday. " Where will we meet? In 
the old apple tree. Then what train shall we take? " 

Just then there was a scattering and scrambling of 
leaves. They looked down and there was about nineteen 
or twenty girls and boys going on a picnic. This Fright- 
ened the little birds and they flew away to their homes." 

Now here is conclusive proof that the picture suggests 
the composition. Not a thing in the picture is described by 
Louise. She did not write about " A Bird Day Council," 
but she wrote about " Miss Woodpecker who keeps a school 
in a tall pine tree." Where is the teacher, and where is 
the tree? These two subjects are not in the picture, surely. 

In the first paragraph. Miss Woodpecker said, " How 
many birds would like to go to the Museum of Natural His- 
tory"? " At this place one sees many stuffed birds; so the 
picture suggested " Museum " to the child. Not until the 
last statement does the pupil refer to the picture. Then she 
saj's, " Some l)oys and girls came along and frightened the 
birds and they flew away home." 

After analyzing this child's composition it is plain to 
be seen that when the child saw a picture of birds, the story 
came. Not a story about the kind of birds, the number of 
birds; but an original story about birds. 

It should be noted that all the compositions here repro- 



8 STORY-LAND 

diiced are exactly as written by the pupils and without cor- 
rection by the teacher. 

Rebecca Craig, another child in the same class, made 
up a dialogue between Smallfeet and Bigtoe, regarding a 
comet. 

'' Rebecca Craig. Grade 5-B. 

Nine Little Birds. 

One day when the older birds had gone to a council nine 
little birds who were too young to go, met on the branch of 
an old apple tree. 

Smallfeet asked, " What is a comet? " Bigtoe said 
with a superior air, " I asked the owl; he knows all about 
such matters. It is a big animal that comes in the night 
and eats small birds up. It has a great big tail. 

The sky was now very dark and thunder clouds were 
seen. There was some streaks of lightning, and then didn't 
it pour. The little birds flew to their nests and were glad 
to be home out of the rain." 

It will be seen by reading these compositions that the pic- 
ture suggests a story. If the teacher will use the picture 
in the way that we have outlined she will get stories. The 
great trouble has been to get enough pictures of a kind for 
a grade. To do this some teachers have cut pictures from 
old readers, etc. 

The aim has been, in making our selections, to use pic- 
tures that have a story in them. 

The child should be encouraged to write a story. Not a 
story of what he sees in the picture, but the story in his 
mind suggested by the picture. For instance: a child on 



STORY-LAND 9 

looking at the picture called " A Heli»ing' Hand " should 
not say, " I see a little girl and her ])ai)a in a boat sailing 
in the water;" but she should say, " One day, a little girl 
named Mary asked her father, who was a fisherman, if she 
could go out with him in the boat and help him raise the 
nets," etc. 

In order to be successful with the Child Life Composi- 
tion Pictures the teacher nnist ever keep in mind these 
words : — ' ' Tell me a story. ' ' 

The Biographical Sketches of Artists are intended sim- 
ply for the teacher's use, but are not to be used in con- 
nection with the composition work. 

SUGGESTIONS TO TEACHERS. 

The following suggestions are given for the use of the 
pictures in the hands of the children: 

Place a picture on each desk, picture side downward. 
Have the children look at the picture, all at the same 
time. 

Steps to be followed in writing a story suggested by the 
picture : 

I. Have each child write a storv suggested bv the 

picture. 
II. Have each child write a story using the model out- 
line. 
III. After this drill, have the children write another 
original story suggested by the picture. 
A different incident must be told. 



10 



STORY-LAND 



Place: 
Time: 

Actors: 
Intro duct ion 



Incident. 



Climax. 



A Helping Hand. 

KENOUF. 

(Outline.) 



[grades i-ii-iii. 



Coast of New England. 

Summer. 

Peter Mund and his granddaughter, Katie. 

Where did Peter Mund live! 

AVho lived in the little cottage with him? 

How did Peter earn his living! 

Where did he sell his fish! 

AVhy did he call Katie his " Little Helper "! 

Where did Peter Mund usually fish"! 

Whom did he take with him! 

What kind of fish did Peter expect to catch! 

What did they use to catch the fish! 

After Peter and his granddaughter had been 
out to sea for some time, what did Peter 
see away off on the horizon that made him 
anxious! 

Soon he heard a distant noise — what was it? 

What did Peter do! 

The home-coming — Did Peter reach land be- 
fore the storm! 

Who helped him? 




1) 
24 



73 

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12 



STORY-LAND 



The Neiv Scholar, 



Place : 
Time : 

Actors: 

Introduction . 



Incident. 



Climax: 



(Outline.) 



[grades i-ii-iii. 



German schoolroom. 

Morning. 

{ Knud, the new scholar. 

1 Billie, the boss. 

The day Knud was six years old where did 
he go? 

Who took him to school! 

What did he carry under his arm? 

Did he feel proud ? 

What did the children do when Knud came 
into the room! 

W^here did they place him! 

Knud began doing what! 

Why did the little boy with the bouquet for- 
get to take off his cap? 

Because Knud could write better than Billie, 
what did Billie do to Knud! 

Who came into the room and settled the 
fight! What did the teacher do with the 
boys ! 



14 



STORY-LAND 



Place : 
Time: 
Actors: 
Introduction. 



Incident, 



Climax. 



The Country Joiner. 

WILHELM AMBERG. 

(Outline.) 



[grades i-ii-iii. 



Backyard of a German farmer. 

Morning. 

Freda and her grandfather. 

Who was Freda! 

Where did she live? 

What did Santa Clans bring her for Christ- 
mas! 

Where did she keep her doll 's cradle ! 

Where did she take her cradle and dolls the 
day some of her little girl friends came to 
visit her? 

How did she happen to forget to bring the 
cradle into the house! 

The broken cradle. 

How was it broken! 

Did Jack, the big Newfoundland, think it a 
nice bed! 

When did Freda find the cradle! 

What did she do! 

What noise led her into the backyard? 

Who mended her cradle and dried Freda's 
tears ? 




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16 STORY-LAND 

The Tivo Mothers. 

ADOLF EBERLE. 

[grades I-II-III. 
(Outline.) 

Place: A Dutch kitchen. 

Time: Evening. 

Actors: Mrs. Vetter and her two children, Knud and 

Gretta; Betsy and her two pups, Patsy 
and Topsy. 
Introduction: What did Gretta and Knud find, one morning 

when they went out into the woodshed ? 
What did they name them? 
W^hat bad habit did Patsy have as he grew 

older f 
What happened to him one day when he ran 
away from home? 
Incident: Tell how Patsy got a nail in his foot. 

How did he make Gretta understand that he 

w^as suffering? 
What did she do? 
Where did she take him? 
Who placed Patsy in Gretta 's lap? 
Why did Knud forget to eat his bread and 
milk? 
Climax: While Gretta nursed Patsy what advice did 

Mrs. Vetter give to Betsy? 
Did Betsy understand? 
How did she show that she understood? 
What did Mrs. Vetter do? 




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18 



STORY-LAND 



The First Step. 

GEORGE SWINSTEAD. 

[grades I-II-III. 
(Outline.) 

Place: An English country home. 

Time: Morning. 

Actors: Ruth, Curly-loek and her puppy. 

Introduction: Describe a spring morning. 

Where was Ruth going? 

Why did she have a pitcher under her arm! 

Who went with her? 
Incident: Puppy tumbled down the steps. 

After he fell, what did the puppy do? 

What did Ruth do? 

Why did she not pick the puppy up ? 

How did Curly-lock teach her puppy to take 
his first step? 
Climax: How did Curly-lock show she was pleased 

when the puppy climbed up the step? 

Do you think your mamma felt that way when 
you took your first step? 




Sw instead 



The First Step 



20 STORY-LAND 



His First Ride. 

d'entraygues. 

[grades i-ii-iii. 
(Outline.) 

Place: Brittany, 

Time: Afternoon. 

Actors: Carl, his baby brother, and the mother of the 

children. 
Introcluction: Where did the children get their pony! 

Was it a birthday gift? 

How did Carl show his joy in receiving such 
a welcome gift? 

What was the first thing Carl did after he 
received his gift? 

W^here did the mother place the baby? 

Why does the mother lead the pony? 

Why is the baby holding out its hands toward 
his mother? 

What does the mother say to him? 

What a queer cap the mother wears! 

Does the baby want the cap? 

AVhat did he do with it? 

Did his mother scold? 
Climax: Wliy did the mother take the children home? 




i *i<ttA^¥ 



D'Entraygues 



His First Ride 



22 STORY-LAND 



Debut i)i Riding. 

SCAFFAI. 

[grades i-ii-iii. 
(Outline.) 

Place: Italian kitchen. 

Time: Afternoon. 

Actors: Lorenzo, his haby brother, and his mother. 

Introduction : AVliile Lorenzo's mother baked her bread, 

how did he amuse his baby brother! 
Where did Lorenzo go to play with his 

blocks? 
Whatdidhebnild? 

What did the goat do that made the baby cry? 
How did Lorenzo feel? 
Were the children kind to the goat? 
How did the mother try to teach the baby not 
to be afraid? 
Incident: Where did the mother take the goat? 

Wliere did she place the baby? 
AVhy was he not afraid? 

After a time the goat began to act ugly — 
why? 
Climax: What happened to the basket and the distaff f 

Where did Lorenzo and his mother have to 
take the goat ? 



24 STORY-LAND 

On the Beach. 

A. DELOBBE. 

[grade IV. 

" The Baby's First Step." 
(Outline.) 
Place: Amsterdam. 

Time: Summer. 

Actors: Fisherman, wife, and two children at the sea- 

shore. 
Introduction: Describe the narrow street with its leaning- 
houses, canals, and children in wooden 
shoes, where the fisherman and his wife 
lived. 
Tell of the preparations made for Baby 

Carl's birthday. 
How old would he be on this particular birth- 
day! 
Where were the family to go \ 
How did they go? 
Incident: » What does the position of the fisherman's 

fishing vessel indicate? 
What is he doing? 
What interrupts his work? 
After the baby got tired walking, what did 

his mother do with him? 
How did she cover him? 
AVhile the baby slept what did the rest of the 

family do? 
When the baby awakened, what did he do? 
What noise startled the fisherman? 
Wniatdidhedo? 
Climax: Who saved the baby? 




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STOEY-LAND 



In Vacation. 



H, BACOX, 



[grade IV. 



Place: 
Time : 
Actors: 
Introduction. 



Incident. 



Climax. 



Pearls , 



An Oyster Shell's Treasure." 
(Outline.) 

At the seashore. 

Summer. 

Herbert and Jane. 

Where do Herbert and Jane live? 

Where did they spend their vacation? 

(Describe Concord.) 

What did the children find in the old fishing 

vessel ? 
What did they do with the rope! 
Where did the children go after Herbert got 

tired swinging Jane ? 
What did they find in one of the oyster shells 

they found lying on the beach? 
Instantly what did they both do? 
When the children reached their father what 

did they say to him ? 
What exclamation did the father make? 
Eeturn home. 



Natural . 



{ Wlicre fo 
I How can? 



Wlicre found? Fisheries 

iscd? 
How formed? 



olor? 



Artiflcial. . . Where made? . 



( Japan. 
) France. 
Germany. 

Italy. 



] 



Persian Gulf, 

West Coast of 

JVIexico, 

Ceylon, 

Suiu 

Archipelago, 

Australian 

Seas, 

Panama, 

Gulf of 

California. 




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28 



STOEY-LAND 



First Lessons in Needlework. 



(Outline.) 



TYLER. 



[grade IV. 



Place: Kitchen in Germany. 

Time: Afternoon. 

Actors: Mrs. von Unvert and her two daughters, 

Freda and Lena. 
Introduction: How did it happen that Freda and Lena are 

learning how to sew to-day instead of go- 
ing to school? 
Where did they go to take their lesson? 
Incident: At first, how did the children w^ork? Why? 

Why did Lena want to make some lace for 

her big wax doll? 
What did Freda think of Lena's plans? 
What naughty thing did Freda say to Lena? 
To what did this lead? 
What did the mother finally have to do? 
Climax: Why was the lesson not completed? 




First Lessons in Needlework 



Tyler 



30 



STORY-LAND 



Right or Left. 

THOMAS KLEEHAAS. 

(Outline.) 



[grade IV, 



Place: Barn in Bavaria. 

Time : Afternoon. 

" Marie, the leader. 
Karl, tlie eldest boy. 
Actors: -{ Lena, the little golden-haired girl sitting 

beside Karl. 
^ The twins, and some neighbor children. 
Introduction: Why are the children playing in the barn? 
How were they amnsing themselves? 
Why did the twins quarrel! 
In order to restore peace, what game did Ma- 
rie suggest that they should play? 
What did the children do when Marie said, 
'' Let's play ' Right or Left ' "? 
Incident: Describe the game. 

Where did the children find a seat? 

How did they arrange themselves? 

Who w^as the leader? 

AVho had the first guess? 

Why did the baby in the center interrupt the 

game ? 
Which boy had his guess and lost? 
Why does Lena hesitate to guess? 
Climax: Something happened — the game was broken 

up — why? 



32 



STORY-LAND 



A Bird Day Council. 
A wonderful pliotograi)li from nature. 

(Outline.) 



[geade V, 



Place: In Birdland. 

Time: Early winter. 

■: Ruth, nine little sparrows. 
Actors: < Mr. Independent. 

( Miss Briglit-eyes, and little Miss Fluffy. 
Introduction: Boundaries of Birdland. 

Inhabitants of Birdland. 

Aristocratic families in Birdland. 

The Sparrow family — its joys and sorrows. 
Incident: A snowstorm in Birdland. 

From what place did Ruth watch " Mother 
Goose picking her feathers "? 

A famine in Birdland. 

Meeting of birds called. 

How did the first three birds that arrived act? 

What did Mrs. Independent do? 
Climax: What story of hunger did each have to tell? 

How did the owl frighten little Miss Bright- 
eyes ? 

Who took care of little Miss Fluffy? 

The last arrival had what interesting bit of 
news ? 

As soon as all the birds heard the news what 
did they do ? 




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34 



STORY-LAND 



Mother and Child. 



MEYEK VOX BREMEN. 

[grade V. 
(Outline.) 

Place: Kitchen in Germany. 

Time: 10 o'clock a.m. 

Actor: Marie, a little German girl. 

Introduction: Where did Marie attend school? 

Why are the children so deeply interested in 

their reading lesson to-day? 
Why is Marie not interested? 
What bit of mischief is she planning? 
When Marie's mischief was discovered, what 
did the teacher do? 
Incident: Why does Marie hesitate before opening the 

door ? 
What decides her? 
What was in tlie letter Marie handed to her 

mother ? 
How did Marie act? 
Climax: Did Marie return to school? 

Did the teacher forgive her? 




Meyer von Bremen 



Mother and Child 



36 STORY-LAND 



Compulsory Education. 

geoffroy. 

[grade v. 
(Outline.) 
Remarks: 

The picture, " Compulsory Education," represents a 
scene in Brittany. Here the boys and girls attend sepa- 
rate schools. The teacher is usually a man. School opens 
at eight o'clock and closes at six. There is a recess of two 
hours at noon. 

Object of questions is to develop the idea of a para- 
graph. 

Suppose we name the little boy wiio hates school, 
'' Jean." 

A. Who was Jeanf Where did he live! Why did he 

not like to go to school? 

B. AVhere did Jean's mother find him playing? What 

time of day was it! How did the mother happen 
to go shopping on this particular day? When 
she met Jean what did she do ? 

C. Did Jean like to be led by the ear? What did the 

teacher and children do w^hen they heard a noise 
on the outside? How did Jean's two brothers 
feel about the noise? What will the mother tell 
the teacher? 




Compulsory Education 



GeofEroy 



38 STOEY-LAND 

In Great Distress. 

KNAUS. 

(Outline.) 



[grade y. 



Place: Farmyard in Germany. 

Time: Morning. 

Actors: Gretclien and her geese. 

Introduction: Wlio was Gretclien? 
Where did she live? 
Who lived in the big house! 
Why did Gretchen's mother give her a piece 

of bread and butter? 
Where did Gretclien go to eat her bread? 
With whom was she playing? 
Incident: When Gretclien stooped to pet her goose, 

what did it do? 
How did Gretclien act? 
What noise attracted the attention of the 

geese that were bathing in the pond? 
What old habit did they follow as they came 

out of the pond? 
What noise brought Gretchen's mother to the 
window? 
Climax: Who saved Gretchen's bread and butter for 

her? 
Geese: 

( To what bird related ? 

Domestic. . } What kind of food do geese like? 

I For what are geese valuable? 
Wild ..Habits. 




3 



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40 STORY-LAND 



A Scliool in Brittany. 

GEOFFROY. 

[grade V. 
^' Catharine's First Day at School," 

(Outline.) 

Place: Girls' school in Brittany. 

Time: Morning. 

Actor: Catharine. 

Introduction: Description of Catharine. 

Tell something about her home. 

Tell something about her queer cap and dress. 

Catharine's age. 
Incident: Catharine's first day at school. 

Describe the schoolroom. 

How are the seats arranged! 

Ho^v do the children stand during recitation? 

Why did Catharine stand very near her 
teacher! 

What did she read! 

How did she surprise her teacher! 

What unusual thing did Catharine do after 
she had finished reading! 
Climax: What girl did the teacher send after Catha- 

rine to bring her back to scliool! 




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42 



STORY-LAND 



First Steps in Reading. 

FEANZ VON DEFFtEGGEE. 

(Outline.) 



[geade v. 



Place : 

Time : 
Actors 



Kitchen in the home of a peasant of the 
Tyrol. 



Evening. 



Tyrolese family — mother, father, Marie, and 

Carl. 
Introduction: How do the children of the Tyrol spend their 

evenings dnring the school year? 
What are Marie and Carl doing? 
Marie's reading lesson — 

Who is teaching Marie? 

W^hat causes the mother to leave her cook- 



Incident. 



mg 



Why does Carl leave his carving? 

AVhy does Marie pucker her lips? 

Is the word hard to pronounce? 
Climax: When Marie's lesson is almost finished what 

sound at the door causes the father to go 

away ? 
How does Marie feel! 
In German}^ there is no time for preparation of lessons 
during school-hours ; so in the evening the children prepare 
their lessons for the next day. Sometimes a part of the 
time is spent in carving, as wood-carving is one of the chief 
industries of the Tyrol. 




First Steps in Reading 



Defregger 



44 



STORY-LAND 



The Balloon. 



JULIEX DUPRE. 



(Outline.) 



[grade VI. 



Actors. 



Place: "Wheat field in Normandy. 

Time: Morning. 

Workers in tlie field. 
Herbert, one of the workers. 
Introduction : Location of the scene of preparation for a 

balloon ascension. 
From what place did Herbert watch the 

preparation! 
Of what use were the bags of sand? 
How did the aviator plan to control the bal- 
loon? 
What instrument does the aviator carry in 

his basket? 
The day of the ascension. 
Herl)ert and the workers in the wheat field. 

What are they doing? 
Suddenly all cease work, — why? 
A cry goes up from the crowd — What caused 

the exclamation? 
Was the aviator hurt? 
After the excitement what did the workers 

do? 
Describe their feelings. 



Incident. 



Climax: 





The Balloon 



Julien Dupre 



46 



STORY-LAND 



Winter Morning in the Barnyard. 

CHAELES C. CURRAN. 

[grade VI. 

" The Stolen Turkey." 



Place : 
Time: 
Actors: 
Introduction. 



Incident. 



Climax. 



(Outline.) 

Barnyard of an Ohio farmer. 

Early morning. 

Father and daughter. 

Description of a snowstorm which took place 

the night before Christmas. 
Points to be brought out in the description — 

Condition of sky. 

Sounds that announce a storm. 

How animals are affected. 
The stolen turkey. 
Points to be brought out in the description — 

Tracks in the snow. 

Place to which these tracks led. 

Condition of hen-house. 
A Christmas dinner without a turkey. 

Eead Whittier's '' Snowbound." 





^ 



^.sA 



Charles C. Curran 
Winter Morning in the Barnyard 



48 



STORY-LAND 



Place : 
Time: 
Actors: 
Introduction. 



Incident. 



Climax. 



Swiss Children. 
(Outline.) 



[grade VI. 



Zurich, Switzerland. 
Afternoon, 

Two children — Carl and Gretel. 
Where do Carl and Gretel live? 
The Swiss live in such queer houses. 
Do you know the name of these buildings' 
[Where built? 
Kind of roof f 



Chalets ^ 



Number of stories hiarh? 



[ For what is the first floor used? 
Where did Carl and Gretel go to gather 

edelweiss? 
One day they found a cunning little thing, 

what do you think it was? 
What did the children do with the lamb? 
Who tied a string around its neck? 
When Carl and Gretel got home what did 

their mother say to them? 
Where are the children taking the lamb? 
Why is Carl wearing his long velvet jacket, 

yellow breeches, and bright-red cap? 
Do you think the children will find the owner? 
Whose statue did the children pass on their 

way home from Marie's, where they left 

the lost lamb? 
What did Gretel do with her edelweiss? 




From a photograph 



Swiss Children 



50 STORY-LAND 

A Spring Greeting. 

GEOFFEOY. 

[grade VI. 
" Katherine's May-day Offering." 

(Outline.) 

Place: An interior of a London clmrcli. 

Time: May-day. 

Actors: Katherine and the old florist. 

Introduction: In olden times what did the people do to gain 

the favor of their gods? 
This old custom led to what celebration in the 

churches on May-day? 
Why was Katherine unhappy about the May- 
day celebration in her church? 
Incident: When Katherine passed the florist's window 

on her way from work what did she do? 
How much money did she find in her purse ? 
What did the florist do when Katherine asked 

for a penny-worth of violets? 
How did he know Katherine loved flowers? 
How many flowers did he give her for a 

l^enny? 
Was Katherine surprised? 
Where did Katherine take her lovely violets? 
Climax: At the door of the church, Katherine met 

the old florist. Why did he smile so 
kindly at Katherine? 




p 
o 

OP 

a 



op 
u 

Si 

o 

he 

a, 



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•vOl 



52 



STORY-LAND 



Both Astonished. 

BEYSCHLAG. 

[grade VI. 
'* An Intruder in Marie's Enchanted Garden," 



Place. 



Time: 
Introduction. 



Incident, 



Climax. 



(Outline.) 

A beautiful spot behind the fountain on the 

lawn of the country home of Marie's 

father. 
Early morning. Breakfast. 
Who was Marie? 
Where did she live? 
Where did she like to play? 
How did she happen to call her playing-place 

" The Enchanted Garden "? 
What wonderful flower grew in the garden? 
Why was it wonderful? 
Did this flower talk to Marie when she was 

cross? 
How does Marie feel this morning? 
How did she act toward her lovely flower? 
As soon as she did this what queer noise did 

she hear near her favorite flower? 
Why did the bunny stand in an upright 

position? 
After the bunny disappeared what did Marie 

discover? 
Then what did Marie do? 
How did she feel at the loss of her flower? 




Beyschlag 



Both Astonished 



54 



STORY-LAND 



An Interesting Story. 

[grade VII. 

Remarks: 

Have the children write an imaginary fairy story, using 
the picture as a foundation. Name the story. 



Place : 
Time: 
Actors. 
Plot: 



Climax. 



(Outline.) 

An Italian kitchen. 

Sunset. 

Old witch and little girl, Princess Louise. 

Old witch used her magic wand and changed 
the little girl, the Princess Louise, into 
an Italian beggar. Little beggar went to 
live with old witch. Describe scene in 
kitchen. Child forced to beg from door 
to door. Pennies given to her taken from 
her. Attempts to escape. 

Little girl awakened. Found that she had 
been dreaming. 



Read " Midsummer Night's Dream " to the children. 



56 



STORY-LAND 



Place: 
Time: 
Actor: 
Introduction 



Incident. 



Spring. 

COROT. 

[grade VII. 

" Corot's Visit to Ville d'Avray." 

(Outline.) 

Ville d'Avray. 

Spring. 

Camille Corot, the artist. 

Where did Corot live? Paris. 

What signs of spring led him to desire to 

visit his father's country place, Ville 

d 'Avray f 
What body of water on the place was very 

beautiful to Corot? (The pond.) 
Corot's arrival at Ville d'Avray. 
Description of Corot's favorite sketching 

spot. 
What did he see rising from the pond! 
What effect did the mist have upon the land- 
scape I 
Describe the spring foliage. 
What effect did the poetical scene have upon 

Corot? 
What did he imagine he saw under the trees? 
How were the children dressed? 
After Corot went back to Paris he put on 

canvas his dream. 
Do you know what he called this drearn 

picture ? 
Color of chil- One a delicate orange, the other a pale blue; 
dren's dress: the maiden's dress, a delicate rose. 



Climax. 




o 






58 STOEY-LAND 

The Harvest. 

JULIEN DUPRE. 



[grade VII. 



" The Haystack's Treasure." 

(Outline.) 

Place: A Norman liayfield. 

Time: Summer. 

Actors: Pierrette and lier companions. 

Introduction : Description of workers entering the harvest 

fields. 
Breakfast sent from the farmhouse and eaten 

in the field. 
Conversation at the morning meal. 
The " long lost treasure " laughingly re- 
ferred to by Pierrette. 
Incident: The discovery of the treasure. 

A queer looking hole under a haystack led 

Pierrette to do what? ; 

What unexpected obstacle aroused her keen 

interest? 
Who helped her dig up the treasure? 
When was the box stolen? 
What was it said to contain? 
Climax: The opening of the box by Pierrette — her 

great surprise. 




3 

Q 
c! 



> 



60 



STOEY-LAND 



Place: 
Time: 
Actor: 
Introduction 



Woman Churning. 

MILLET. 

" Makgaket's New Norman Cap." 

(Outline.) 
Norman kitchen. 
Morning. 
Margaret, a poor peasant woman. 



[grade VII. 



Margaret's home snrromiclings. 



Why poor? 

Description of living-room — the kitchen. 
Peculiar churn used in Normandy. 
Margaret's one great desire — a new cap. 
Where had she seen one of these caps? 
Was the girl who wore it Margaret's friend? 
Incident: How Margaret realized her great desire. 

Plan to raise money. 
Was her churning money sufficient for her 

purpose? 
As Margaret did her morning's churning, 

what old Norman superstition did she 

make use of? 
Did St. Giles grant her prayer? 
Climax: Margaret smiled when she opened the churn 

and took up the rich yellow butter — why? 

Legends in connection with churning: 

In Scotland, if the butter comes easily, the milk-maid 
says, '' The Brownies are helping this morning "; in Eng- 
land, if the butter does not come easily, the maid looks for 
toads and lizards, to see if a witch has passed by with her 
evil offering; in Normandy, the little maid prays to St. 
Giles for aid. 




Woman Churning 



Millet 



62 



STORY-LAND 



The Horse Fair. 



EOSA BONHEUR. 

[grade VII, 



'^ The Sale of Black Ben." 



Place: 
Time: 

Actors: 

Setting of 
story : 

Incident: 



Climax: 



(Outline.) 

Old Market Place of Paris. 

MorDing. 

Jockeys and horses at the Fair; Jamie, the 

owner of Black Ben. 
The home and surronndings of Black Ben. 
Why was Jamie so fond of him? 
Why was it necessary to sell Black Ben? 
Old Market Place of Paris was the scene of 

the sale of Black Ben. 
(The dome in the distance is Sal]ietriere, a 

hospital or almshonse for infirm, insane, 

and otherwise helpless women.) 
The great arsenal is nearby. 
Describe Black Ben's actions during the sale. 
Why is the jockey obscured from view? 
After the sale, how did Black Ben make his 

escane? 
Where did he go? 
Jamie's surprise the morning after the sale. 



64 



STORY-LAND 



Pilgrims. 



Religious 
customs : 



Picture: 



Pilgrims Going to Church. 

GEORGE BOUGHTON. 

[grade VIII. 

(Outline.) 

Who were the Pilgrhns? 

"Why did they come to America! 

Character of the people? 

Service — where held ? 

Church : 

Description. 

Tithing-man. 

Foot-warmers, etc. 
Description of picture : 



1. 
o 



Why are the men carrying guns? 
What have the women in their hands? 

3. Dress of the minister? 

4. Why are the women and children 

grouped together? 

5. Time of year. 

Compare a crowd of people attending a church in 
Plymouth to-day with the little bands that assembled in the 
fort on the top of the hill in 1620. 




3 
O 

n 



O 
t-i 

Q 

o 

+-> 

'o 

O 



66 



STORY-LAND 



The Pilgrim Exiles. 

GEORGE BOUGHTOX. 

[grade VIII. 

An Imaginary Sketch of Rose, One of the Pilgrim Exiles. 

Place: Plymouth. 

Time: 10 o'clock a.m. 

Actors: The departure of the Mai/floiver. 

Introduction: Who were the Pilgrims? 

Why did some of them not return on the 

May-fioiver to England? 
What struggle did those left behind have to 
face in the new world? 

I. Indians. 
II. Cold winters. 

III. Lack of food. 

IV. Homesickness. 
Describe Rose, one of the exiles. 

Incident: Imagine some reason why it was necessary 

for Rose to remain in the new land. 
Climax: Describe the feelings of Rose on the day that 

she watched the going out to sea of the 

Mayflower. 
What did she do when she could no longer 

see the vessel? 




33 






68 STORY-LAND 

Ploughing. 

MILLET. 

(Outline.) 



[grade VIII. 



Place: Farm in Normandy. 

Time: Summer. 

Actor: Charles, a poor tenant farmer. 

Introduction: Description of the farm which Charles rents. 
Owned by whom? 
Size of farm? 

Number of acres of arable land? 
Implements ? 
Incident: Continual failures of crops. 

Charles deeply in debt. 

A newspaper describing the glorious possi- 
bilities for getting rich in America falls 
into the hands of Charles while he is 
ploughing. 
Struggles to save enough money to go to 
America. 
Climax: The purchase of a steamship ticket for 

America. 
Old French customs: — The French use white oxen to 
draw the wooden plough. In France the peasants seldom 
own the land they cultivate. They rent it from the great 
landowners. Rent is paid twice a year. Farms are small 
— sixty or ninety acres. Breakfast is served in the field. 








a 



70 STORY-LAND 



John Alden and Priscilla. 

GEORGE BOUGHTON. 

[grade VIII. 

(Outline.) 

Setting of A. Where did John Alden and Priscilla 
story: meet! How did John Alden happen 

to be on the Mayftower? 

B, Mention three other passengers who were 

on board whose lives were closely 
linked with John Alden and Priscilla. 

C. When did they sail for America? 
Incidents nee- W\\ei:e did the Pilgrims land? 

essary to a Obstacles to be overcome in a new country. 
description of Death of what person brought about the 
the picture: courtship of Miles Standish? 

What part did John Alden play in the affair 1 
Description Where are John Alden and Priscilla going? 
of picture: Why? 

Time of year? 

Why did John Alden carry his gun? 

Do you think John Alden has "■ spoken for 
liimself " vet? 




'^ 






, .l^t^Sk^^ 



John Alden and Priscilla 



Boughton 



72 



STORY-LAND 



The Gleaners. 



MILLET. 



(Outline.) 



[GEADE VIII. 



Place: 
Time: 

Actors: 

Setting of 
story: 



Incident: 



Climax: 



Wheat field near Fontainebleaii Forest. 

Noon. 

Three women — (jrandmother, her daughter, 
and her granddaughter. 

Describe the hut in Fontainebleau Forest 
where the gleaners lived. 

What was their only means of support? 

W^hen do the poor have the privilege of 
gleaning the fields? 

How" did this custom originate! 

When did the three women go to the field? 

Who worked the fastest? 

Describe the action of the young woman with 
the kerchief tied coquettishly on the back 
of her neck. 

Why does the mother not find real joy in her 
work ? 

W^hy does the grandmother stand in a half- 
upright position? 

What sudden change in the weather caused 
anxiety to the workers? 

Who first noticed the signs of an approach- 
ing storm! Why! 

The tragedy of the gleaners forced by the 
storm to leave the wheat field. Describe 
it. 




:-. 

CD 

a 



ORIGINAL COMPOSITIONS WRITTEN BY CHIL- 
DREN WHO USED THE CHILD LIFE COMPOSI- 
TION PICTURES. UNCORRECTED: 

An Interested Story. 

Grandma had just finished chopping wood. She came 
in and pnt the ax down. Little Fannie was waiting for her. 

The boiling pot stood in the corner by the table. Tabby, 
the cat, was taking a nap. These people yon know, were 
very poor. 

When Grandma came in Fannie asked her if she would 

tell her a nice story. So Grandma took the book, sat down 

and began to read. When she had finished Fannie smiled 

and said, " AVhat a lovely story." So it was for it was a 

fairy story. 

Helen Larson. 

Grade 4-B. 

In Vacation. 

One summer's day I went to the seashore, and there I 
saw two little children. They were having a good time. 
Do you know what they were playing? They were taking 
turns swinging. They played all morning till dinner-time. 
Then they went in their father's yacht and went to Boston. 
It was getting on toward night. Their father let them turn 
'on the searchlight. They were very tired. Soon they were 
in bed and fast asleep. I had a very good time while I was 
there. 

Merle Hitchcock. 
Grade 3-A. 

74 



STORY-LAND 75 

A Helping Hand. 

Little Betty Clark live very close to the sea. Her 
father was a fisherman and every morning he went out on 
the sea in his little row boat to catch fish. Her mother sold 
the fish her father caught so Betty was left home alone. 
Many a time Betty had asked her father to take her with 
him when he went fishing but he always said a storm might 
come up while they were out and then he would blame 
himself for taking her. 

But one morning she pleaded so hard that he could not 
resist and he told her if she would hurry he would take her. 
She was ready in a few minutes, and they were soon seen 
rowing out to sea. When they were quite far out her father 
let down the anchor and started to fish. Betty could have 
fished but she preferred watching her father. She had been 
watching the sky for a little while when she suddenly said, 
" Papa doesn't the sky seem to be getting very black! " 

Her father looked up and said, " Yes Betty, I think we 
had better start right away. I hope we arc not going to 
have a storm," he added drawing up the anchor and giving 
her an anxious look. 

The fisherman rowed as hard as he could but he wore 
a troubled look. Betty looked at her father and said, 
" Papa why do you look so troubled! Is it because it is 
so hard to row! I will help you then." And she put her 
small hands on the oar exerting all her strength in trying 
to make it easier for her father. Whether some good spirit 
helped the boat a long or whether the sea grew calmer, the 
father did not know, but it seemed as if the boat went 
faster after she helped. They got on shore just as the rain 
started to fall. Edxa Bassler. 

Grade 6. 



76 STORY-LAND 

Pilgrims Goiiig to Church. 

These Pilgrims were a band of people who came to this 
great land of ours in 1()20, when it was but a bleak, cold 
country. They came to this continent to worship God in 
their own way. To this great purpose they held through 
all hardships, which, between the Indians and severe win- 
ters, were quite numerous. 

AVhen they first landed, the neighboring tribes of In- 
dians were friendly; after a while they became hostile, 
killed the Pilgrims and plundered their homes whenever 
they had and opportunity. 

If you or I had lived in those days, no doubt we would 
have seen these people going to church, armed as if going 
to a battle. In this way they were prepared to repulse any 
unforseen attack from the Indians. The settlers tramped 
for miles to their meeting place, so great was their love 
for Grod. 

Charles McCormack. 
Grade 7-B. 

In Great Distress. 

One day a little girl named Eleanor went to visit her 
grandma. Eleanor had never been on a farm before. She 
was pleased at some of the things she saw and some she 
was afraid of. Eleanor was very much afraid of the geese. 

She did not like the cows either and called them " things 
with horns." 

One day she went into the kitchen to get a piece of 
bread. She went out of the kitchen door into the yard. 

The geese had just come out of the pond in front of the 
house. 



STOEY-LAND 77 

As soon as Eleanor saw them she was very much fright- 
ened indeed, " They will bite me," she said. 

The geese only wanted her bread, but she thought they 
would bite her. Eleanor ran screaming into the house. Her 
mother came to the door to see what was the matter. As 
soon as she saw the geese running after Eleanor she knew 
what the trouble was. She told Eleanor not to be afraid 
and Eleanor never was again. 

Claudine Smith. 
Grade B-4. 

The New Seholar. 

In a country school, there are seven little boys. One of 
thes boys is a new scholar. He is crying because he is 
lonesome for his mother. His teacher tells him not to cry. 

Edith Bergstrom. 
Grade 3-B. 

Compulsory Education. 

Once there was a little boy who had heard about the 
comet. So one morning when he went to school he climbed 
up top of a telegraph pole and looked for the comet. 

After while his mother came by and saw him up there. 
She asked him what he was doing and why he didn't go to 
school. Then he said, " I'm looking for the comet." Then 
the mother said, '■ ' Come down here I want to tell you some- 
thing." When he came down he asked his mother what 
did she want to tell him. Then his mother told him she 
was going to give him a whi]i]iing. Then she took him by 
the ear and led him to school. When she reached the school 
she told the teacher what he had been doing. When the chil- 



78 STORY-LAND 

dren heard what he had been doing they all laughed at him 
and told him he could not see the comet in the daytime. 

EwiNG France. 
Grade 5-B. 

A Spring Greeting. 

Oh ! said little Robert one morning spring is here at last, 
tomorrow is my birthday and I am so glad. I hope that I 
shall get some flowers although I am afraid I can't because 
most flow^ers have not come to life yet. 

Next morning the children awoke as usual, made their 
toilet and came down stairs for breakfast. At the table 
little Robbie was astonished to see a vase with ever so many 
beautiful flowers in it. He wondered and wondered and 
yet he could not guess wdio it was until at last he thought 
of Grandma Bascom for grandma knew that Robbie dearly 
loved flowers. 

After breakfast the children went for a merry romp in 
the woods. They talked with the birds, played with the rab- 
bits and went around hunting for wild flowers. When they 
came home, to their surprise there was a great big cake with 
six little candles all light up, and beside there was a note 
from mama which Harold read. The children all stood 
around and listened wdth eager delight until it was finished. 
When he did finish they clapped their hands for joy. They 
all went to bed that night with a contented mind. 

Jennie Miller. 



BIOGEAPHICAL SKETCHES OF ARTISTS. 

Emile Reuouf. 
(1845—.) 

Emile Renoiif lived for many years in New York City. 
Here he })ainted a sunset view of Brooklyn Bridge wliieli 
attracted a great deal of attention. His best work is called 
'' A Helping Hand." 

Wdhelni Auiberg. 

Germany, sometimes called Toyland, because of its great 
toy factories, was the home of Wilhelm Amberg, the well- 
known genre painter. He was born in Berlin, February 
25, 1822. Here he studied art at the Academy. 

When a child, Amberg loved to read the old Greek myths 
of Jupiter, Mars, Perseus, and Helen. When he learned 
to paint he naturally painted scenes in which there were 
dancing nymphs, playful fauns, and gods and goddesses. 
But when he learned more of life, and saw the suffering 
of the poor, he changed his style of painting and became a 
genre* painter. His "Ophelia" and "Widow's Com- 
fort " are two of his best known ]nctures. 

George HiUgard Swiiisfead. 

The picture called " The P^irst Step " was painted by 
George Hillyard Swinstead, at the age of seventeen. At 
that time he was chorister boy in Queen Victoria's Private 

* Genre paiiitiog tells in a strong way the story of everyday life. 

79 



80 STORY-LAND 

Chapel at Windsor. So pleased was her Majesty with the 
picture that she bought it for her private collection. 

The little drama played by the barefooted English girl 
and her two dogs on the stone steps, so truthfully inter- 
preted by Swinstead, has proved very popular; conse- 
quently, the picture, " The First Step," has been widely 
etched and engraved. 

H. Bacon. 

H. Bacon was born at Haverhill, Mass., in 1839. He was 
a soldier in the civil war and was disabled while serving in 
the 13th regiment from Massachusetts. 

In 1861 Bacon went to Paris, where he studied art under 
Cabanel, and at the Ecole des Beaux Arts. His best 
known picture is " Boston Boys and General Gage." 

Thomas Kleeliaas. 

Away across the sea in quaint, picturesque Bavaria, is 
the home of Thomas Kleeliaas, the genre painter of Ba- 
varian life. 

The German people are fond of Kleeliaas, because he 
not only understands the nature of little children, but he 
also is able to paint pretty pictures of them. He paints 
groups of little children romping on the playground, recit- 
ing lessons to their teacher, or bathing at the seashore. 

Ludivig Kuans. 
(Born October 5, 1829.) 
In Germany is a wonderful forest, famous for its great 
pine trees and quaint legends. In this forest Undine * gath- 

* Undine (On-dene), a tale by Fouqne. Undine is a water-spirit who is en- 
dowed with a soul by her marriage witli a mortal. Her home was in the Black 
Forest. 



STORY-LAND 81 

ered flowers and listened to the mysterious tale of the 
Knight. This forest has a queer name. It is called the 
Black Forest, which name has perhaps been given it be- 
cause of its dense woods. 

Near this forest lived one of Germany's greatest genre 
painters, Lndwig Knans. Here he painted many of his 
charming scenes from child-life. 

Kuans instead of telling funny stories painted them. 
For this story-telling gift, he has been called Germany's 
greatest story-teller in color. 

Franz von Defregger. 
(The Landseer of Germany.) 

Away across the sea, in a country famous for its pic- 
turesque scenery, queer, old-fashioned customs and quaint 
costumes, there was born, in 1835, the great painter of the 
Tyrol, Franz von Defregger. Do you know where the Tyrol 
is? Look in your geography and find Austria-PIungary. 
There in the Bavarian Alps is one of the most beautiful 
spots in Europe, — the Tyrol. 

Here in the Tyrol lived young Defregger on a farm 
called Ederhof. When a boy he tended his father's cattle 
and horses; but during his spare moments he did such 
funny things — out of ]iotatoes, carrots, or clay, he carved 
figures of the boys and girls that he knew. Sometimes he 
would model his favorite sheep. 

When Franz was only twenty-one, his father died. This 
left him in full charge of the farm. Defregger did not like 
farming, so he sold the home place, and went to Munich 
to study art. 

In Munich, Defregger 's happy, joyous nature found 



82 STORY-LAND 

mucli to interest him; but he still loved the Tyrol. To it he 
went often, for the quaint costumes, the simple, kind- 
hearted people living in their picturesque cottages on the 
side of the mountain, were the subjects Defregger loved to 
paint. He loved animals, too. He painted them so well 
that he has been called " The Landseer of Germanv." 



Meyer von Bremen. 
(The Child Painter.) 

Meyer von Bremen loved little children so well that he 
spent the greater part of his life painting pictures of them. 
Pictures like " Listening to a Story," " Blind Man's Buff," 
and " Mother and Child " were the subjects he enjoyed 
painting. So splendidly has Meyer von Bremen interpreted 
the simple, everyday pleasures and sorrows of children 
that the world has called him ' ' The Child Painter. ' ' 

Meyer studied art at Diisseldorf , where he became known 
as Meyer von Bremen. Perha})s there were two boys by 
the name of Meyer in the school. As Meyer was born in 
Bremen he was called Meyer von Bremen, in order to dis- 
tinguish him from the other boy. In the art world, Meyer 
is always spoken of as Meyer von Bremen. 

He died in 1886 at Berlin, where most of his working life 
was spent. 

Charles C. Cur ran. 

Charles C. Curran is an American artist who first at- 
tracted public attention by his picture called " A Rainy 
Day," which was exhibited at the World's Fair at Chicago. 
He has the art of making commonplace things beautiful by 
Ms artistic method of handling his subjects. His pictures 



STORY-LAND 83 

xire full of movement and graceful lines. This is especially 
so in tlie picture called " Winter Morning in a Barnyard." 

Charles C. Curran was born in Kentucky in 1861. He 
is thoroughly a middle-western man, as he received his first 
instruction in the School of Design in Cincinnati. 

Afterward he studied at the League in New York, where 
he won the Hallgarten prize which took him to Paris. 

Cliarles C. Curran is thoroughly American, for he paints 
American landscapes and American men and women. Many 
of his scenes are laid in Ohio. 

Julien Diipre 

In the art world there are two men bearing the name of 
Dupre. One, Julien Dupre, is modern and lives in Paris; 
the other, Jules Dupre, was one of the famous coterie of 
artists who lived at Barbizon and is known as the father 
of the Barbizon school of painting. 

Julien Dupre has devoted himself to landscape painting. 
He also paints the peasants of Normandy toiling joyfully 
in the fields. 

One of his best known pictures is called " The Balloon," 
and hangs in the ^Metropolitan ^Museum, New York. 

Jean Geoffroy. 

A man who knows and loves little children ; who is able 
to sympathize with them in their .joys and overpowering 
griefs; who understands the hardships of the poor with 
its often unnecessary sufferings, is Jean Geoffroy, the great 
French painter of children in modern art. 

Geoffroy was born in ^Marennes, France, and studied art 
in Paris. From the first he was not onlv successful in find- 



84 STOEY-LAND 

ing buyers for his pictures, but lie was also successful in 
having them accepted by the Salon, Geoff roy's pictures all 
tell stories. He tells his story so well that no title is neces- 
sary. He draws w^ell and gets wonderful effects by the use 
of grays and browns. He delights in painting white — a 
most difficult thing to do. His manner of handling white is 
well shown in his masterjDiece, " Visit to a Hospital." His 
picture called " Spring Greeting " is a symphony in gray. 
Although now a wealthy man, Jean Geoff roy has never 
changed his manner of living. In a small house in one of 
the suburbs of Paris, near the little ones he so loves to paint, 
lives the great French painter of children. 



George Bougliton. 

The painter of New England Puritanism, George 
Boughton, was born in Norfolk, England. When quite 
young he came with his parents to Massachusetts, the region 
made famous by his brush. Later the family settled in 
Alban}', where the natural scenic beauty of the place left 
its imprint on the boy's mind. 

Albany was, at this time, the center of traffic with the 
Iroquois; fur dyeing and hat factories being the chief in- 
dustries of the place. In one of the hat factories worked 
George Bougliton, who, during his idle moments, amused 
himself by making pen-and-ink sketches. 

A little thing frequently decides one's destiny. A few 
pennies were given George to buy fishing tackle. Going 
into a store to buy some, he saw on a shelf four tubes of 
colored paint. Which to choose w^as the question most ab- 
sorbing to the child's mind. He hesitated only a moment. 
Pointing to the tubes, he threw his pennies on the counter, 



STORY-LAND 85 

grabbed the x:»aints in both hands, and proudly walked out 
of the store. Four tubes of colored paints decided George 
Boughtou's future career. 

A rich collector, seeing merit in the boy's work, bought 
a few of his pictures, and with this money George Boughton 
was enabled to visit Europe. After wandering here and 
there, seeing the treasures of the galleries, he settled in 
England. In a short time he married. Then many people 
thought that George Boughton 's career, as far as American 
art was concerned, was lost. Such was not the case, for 
although he resided in Europe, he became an interpreter of 
American history. 

He has been called the " Painter of New England Puri- 
tanism," because he has described with delicacy and grace, 
sympathy and powder the struggles of the Pilgrims in 
America. 

Jean Francois Millet. 
(The Michael Angelo of Painting.) 

Far away across the sea in the northwestern part of 
France, is a dangerous and precipitous coast lined with 
granite cliffs. This region, which is known as Normandy, 
produces hardy fishermen and thrifty peasants. 

In a sheltered nook on this coast nestles the quaint lit- 
tle hamlet of Gruchy, the birthplace of a dreamer, Jean 
FrauQois Millet. 

The Millets were poor, and both parents worked in the 
fields. This left Jean in the care of his grandmother. 

Jean Millet had a keen appreciation of the beaut}^ of line 
and form. A bit of paper or the margin of his schoolbooks 
were filled by him with queer and unusual drawings. The 



86 STORY-LAND 

liomely peasant in his soiled blue blouse, dropping the grain, 
plowing the field, or performing simple duties around the 
cottage, were the subjects Jean portrayed. 

Jean's father saw beauty in common things and often 
took his son to the fields with him, where he would point 
out to him the beauty in the form of a tree, or the lovely 
color in a flower. 

In the evening the children would sit around the fire 
and watch the father carve quaint dolls out of wood, or 
listen to his singing of the lovely folk songs of Normandy. 

After a time the father sent Millet to C'herbourg to study 
art. Here his wonderful ability attracted the attention of 
prominent citizens who made up a purse and sent the young 
artist to Paris; so to Paris went this awkward, serious, 
nature-loving boy, only to grow terribly homesick for the 
fields and peasants of Gruchy. 

At the Academy where Jean went to study he met stu- 
dents who could neither comprehend his serious ways nor 
appreciate his strong, vigorous, somber drawings. These 
students did the kind of work that the public admires — ■ 
dainty maidens in fancy dresses; men in short, velvet 
breeches, silk stockings, silver buckles, and white wigs. 

Jean was poor and unhappy, too; for in order to keep 
from starving he was obliged to paint pretty little nymphs 
and fairies instead of his beloved peasants. 

Finally unable to endure the gayety of Paris any longer, 
to the country went Jean and his artist friend Jacque. On 
the outskirts of Fontainebleau Forest, in the town of Bar- 
bizon. Millet found a nesting-place for himself and family. 
Here amid congenial surroundings he spent the remainder 
of his life, finding infinite joy, in spite of his poverty, in 
painting, with a magic brush, the simple life of the peasant. 



STORY-LAND 87 

All of Millet's pictures are poems of the toiling ones; 
Ibut they send to us a message of tenderness, of sweetness 
and love for the lowlv. 



Co rot. 
(The Wordsworth of Painting.) 

The name of the artist Corot suggests, to all lovers of 
the beautiful, hazy spring mornings, dusky twilight scenes, 
and also bits of fairylike Avoodland where nymphs, dryads, 
and fauns sport among the trees. 

Corot was born in Paris. His mother was a milliner, 
and his father, a thrifty, practical peasant, worked at his 
trade in Paris; but during the summer months he spent 
much of his time at his beautiful country place, the Ville 
d'Avray, which was not far from Paris. 

Here in the Ville d'Avray, Corot, a dreamy child, found 
joy in watching the play of moonbeams on the ])ond near 
the house ; or delighted in seeing the sun kiss the morning 
mists away. At the Ville d'Avray, Corot, who never mar- 
ried, spent the greater part of his life. 

At an early age, Corot was sent to Rouen to school. 
Here he had, for a friend and companion, a man whose 
erratic moods intensified Corot 's great love of nature. 
Many long walks would these two take together, going, 
either at early morn, or at dusk, to some out-of-the-way 
place in the woods, where they drank in the beauty of 
shadowy forms. 

Schooldays over, this lover of the woods was sent, by 
liis practical father, to a draper shop to learn the trade. 
But into the shop he took a mind stored with pictures of 
soft moonlight silvering the shimmering leaves on the trees 



88 STOEY-LAND 

that overhung the pond of Ville d'Avray; or the delicious 
freshness of a spring- morning when the trees are putting- 
forth their baby leaves. 

After a time, Corot began to put on paper these memo- 
ries. Half hidden under a counter, he passed many a happy 
moment in spite of his distasteful occupation. 

Finally, love of painting won the day, and Corot at the 
age of twenty-six, decided to become a landscape painter. 

For an allowance, his father gave him a dot that re- 
verted to the family by the death of one of his sisters. 
With the bread-and-butter problem solved, Corot was able 
to study. 

Two teachers left their imprint upon him. From one, 
Michallin, who delighted to paint Greek gods and goddesses 
in historic backgrounds, he learned the values of detail and 
truth; from the other, Victor Berton, he learned design or 
composition. 

The desire to exhibit at the Salon caused Corot, who 
had been studying in Rome, to hasten back to Paris. He 
exhibited, but the picture was badly hung. Year after year 
Corot struggled for recognition, but only a few could ap- 
preciate the beauty of his style. Not until he passed fifty 
did Corot finally win the public; but his nature was too 
sweet to be soured by neglect. His happiness came from 
being loved by his many friends, by helping needy artists, 
and painting in delicate colors his blithe, airy, ideal land- 
scapes. 

Corot 's nature was so joyous and sweet that he could not 
paint sutfering of any kind; so in his landscapes you find 
only peaceful, joyous scenes. There are no storms of any 
kind; only nature in her calmer moods made any appeal 
to him. He is truly the " Wordsworth of Painting. 



> J 



STORY-LAND 89 

In life he called liim.self ' ' the skylark singing little songs 
in his gray clouds," so, like the skylark, he slipped, one 
morning, into the enshadowiug. 



Rosa Bonheur. 

Years ago, when France was ruled by a King, there 
•came to bless the home of a poor artist of Bordeaux, a little 
blue-eyed baby girl, to whom was given the name of Rosa 
Marie, — Rosa Marie Bonheur was her whole name. 

This artist was so poor that Rosa's playthings, as she 
grew up, were the pet animals and the brushes and palettes 
which her father used in his work. 

When Rosa was only a little girl, the family moved to 
Paris, the city beloved of artists. 

After coming to Paris, Rosa was lonely because she 
had left her pets behind her ; so to St. Antoine School went 
the impulsive, playful, out-of-door-loving girl. Here, in- 
stead of enjoying her books, Rosa found delight in drawing- 
witty caricatures of teachers and pupils on the margin of 
her books, or any scrap of paper nearby. Her teachers 
w^ere in despair, for, while they admired her work and 
carefully preserved it, they could not have their school 
demoralized by such an idle pupil ; so Rosa came home in 
disgrace, only to be sent to a sewing school, where she 
13ricked her fingers, and was so dreadfully unhappy that 
finally her father, realizing the little girl's talent, decided 
to take her into his own studio and teach her to draw. 
When not modeling in clay, or drawing from casts in her 
father's studio, Rosa would visit the Louvre, the great art 
museum and gallery of Paris, where she copied the works 
of the great masters. 



90 STORY-LAND 

When quite a young girl, Rosa decided to send a picture 
to the Salon. The Salon is a place where artists exhibit 
their work. If it is accepted by the competent judges who 
pass upon its merits, it is hung in the gallery. To have a 
picture so honored, is the dream of every true artist; so 
naturally the young Rosa Bonheur yearned for this 
distinction. 

She looked around for a model, and seeing a goat in a 
neighbor's yard, she sketched it. So pleased was she with 
her efforts that she decided at once to become an animal 
painter. For the exhibition picture she painted some rab- 
bits nibbling carrots. The little pink noses against the pink 
carrots, the pleasing background, together with the cun- 
ning attitude of the rabbits, delighted everybody. The pic- 
ture was accepted, and Rosa Bonheur, a woman, was 
famous. 

Because her life's work was among animals, Rosa 
Bonheur could not dress like other w^omen of her times. 
She wore men's clothes and had her hair cut short. This 
caused people to talk, but she loved her art more than 
public opinion. Finally the world saw the beauty and glory 
of her pictures and forgot to criticise. 

Sometimes Rosa Bonheur went away off to foreign lands 
to paint — to the Pyrenees, where she lived as simply as the 
peasants; to the Highlands, where she painted the " Lovely 
Morning on the Highlands "; to England, where she found 
a little Skye terrier whom she named Wasp. So fond was 
Rosa Bonheur of Wasp that before she returned to Paris 
she learned a number of English phrases so she could talk 
to Wasp in his native tongue. When she did so he wagged 
his tail in appreciation. Then Rosa Bonheur would laugh 
most heartily. 



STOEY-LAND 91 

Time passed quickly for the young artist, for fame 
brought her many orders and much money. Then one day 
she awakened to find her girlhood dreams a reality — the 
lovely chateau of By near Fontainebleau Forest was her 
very own. One wing was added to the old building and in 
it Kosa Bonheur had her studio. 

From far and near came the great and famous not only 
to see the picturesque castle of By, but also the artist who 
lived there. 

One day the Empress Eugenie, wife of Napoleon Third, 
came to visit Kosa Bonheur. 

Unannounced came Eugenie, rushed up into the studio, 
threw her arms around Eosa Bonheur 's neck, and kissed 
her. 

The interview lasted only a few minutes, and then the 
Empress departed amid the barking of the dogs, and the 
crack of the outrider's whip. 

After the departure of Eugenie, Eosa Bonheur glanced 
down at her dress, and there, pinned upon her breast, was 
the much coveted, much yearned for Cross of the Legion 
of Honor, — a beautiful white cross suspended from a blue 
ribbon. 

Other honors came to bless the life of Eosa Bonheur, 
but nothing pleased her more than the lovely chateau which 
she earned by her own efforts, and the Cross of the Legion 
of Honor, which came with a kiss. 




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